by August Strindberg
Translated and directed by Robert Greer
Presented by Theater for the new City's Dream Up Festival
August 27 to December 4, 2018
(L) and David Kubicka (R). Photo by Jonathan Slaff
from Strindberg's naturalist period is rarely excelled in its
unity of construction, dramatic tension and acute psychological
analysis, but it is far less performed and anthologized than "The
Father" or "Miss Julie." During an afternoon
in a lounge at a seaside resort, a revenge is played out as a
credulous artist has his mind poisoned against his wife by her
former husband. Translator Robert Greer directs.
is set in a parlor and adjoining room of a seaside resort. Adolph,
a painter-turned-sculptor, is falling under the spell of Gustav,
an ill-natured older man whom he has just met. In the guise of
friendly male conversation Gustav, Iago-like, makes Adolph dissect
his love for his new wife Tekla. She is a novelist whose star
is rising while Adolph's is falling. We learn that Tekla is Gustav's
former wife and she has written a roman a clef about him, characterizing
him as an idiot. In an act of revenge, the older man is manipulating
the artist to believe that his wife has selfishly robbed him of
his creative strength in an act of erotic vampirism. The men agree
that Adolph will hide in the antechamber and eavesdrop while Gustav
engages Tekla to demonstrate "how to handle a woman."
Instead of confronting her, Gustav charms her into a farewell
tryst. When Tekla awakens to the plot, it is too late--Adolph,
listening at the keyhole, succumbs to an offstage attack of epilepsy.
The play whirls with mind and power games and is a brilliant statement
on the kinetics of conjugal dependency. But it is written in a
tottering rhetoric which has led to a swollen and lofty tone in
translations to-date. This has been a barrier to its popularity,
and Robert Greer's translation aims to render the play into a
more contemporary voice for the benefit of sophisticated New York
Swedish title is "Fordringsagare," meaning claimant
or pretendant. The translation of the title as "Creditors"
is meant to indicate Tekla's supposed debt to each of her husbands
while posing as a person of original gifts.
The play was
written in 1889 a mere 72 hours after "Miss Julie" was
banned by the censors in Copenhagen. Strindberg had a lease on
a theater and suddenly no play to put in it, so he wrote a play
for the cast he had assembled for "Miss Julie." "Creditors"
approached the same kind of passions, but soft-pedaled the sexuality.
Nevertheless, the play's erotic themes are perceptible through
a variety of clues. Another Swedish word for debt, "skyld,"
also means sin; moreover, the notion of sexual debt tacitly permeates
the entire dramatic situation. In late 19th century Sweden, it
was customary for women to marry men 15-20 years older and it
is assumed that Gustav, her first husband, has educated Tekla
both sexually and intellectually. She, in turn, has similarly
educated Adolph, her second husband, who happens to be her age.
When Tekla had her affair with Adolph, whom she ultimately married,
Gustav was humiliated. His students sniggered about the affair
for seven years. The idea of the "ridiculous" (i.e.
cuckolded) idiot character in Tekla's book actually was suggested
by Adolph (who, ironically, meant no harm at the time). So when
Gustav punishes Tekla and Adolph for ruining his reputation, he
is bitterly redressing a psychic debt that is also sexual.
criticism generally holds "Creditors" to be a better
play than "Miss Julie." It is performed in major productions
year after year because it is such a fine vehicle for three stars.
The actors were
Natalie Menna as Tekla, David Kubicka as Adolph and Robert Homeyer
as Gustav. Lighting design wasby Gilbert Pearto. Costume design
was by Janet Mervin. Sound design wasby Alex Santullo.
August Strindberg Rep
had originally planned to present this version of "Creditors"
in May, 2018 at Gene Frankel Theatre, 24 Bond Street. The production
was postponed to enable an extension for the preceding show
at Gene Frankel Theatre, Wheelhouse Theatre's production of "Happy
Birthday Wanda June" by Kurt Vonnegut, Jr. The Dream Up Festival,
dedicated to new works, had the honor of unveiling Mr. Greer's
new translation of "Creditors" and of helping to make
this classic experimental work more accessible to modern American